CINEMABSOLUTE

----------Warning: This article may contain spoilers!

Bong Joon-ho has long been a beloved director in cinephile circles, especially among those who follow contemporary South Korean cinema. Known for his deep admiration of Martin Scorsese, Bong has made a name for himself in the industry with works like Memories of Murder (살인의 추억), The Host (괴물), Mother (마더), Snowpiercer, and Okja. The success of his films have not only established his reputation but also caught the attention of the American cinema intelligentsia, notably through frequent mentions by Quentin Tarantino. However, as South Korean cinema manages to combine festival acclaim and box office success more than any other country, there is one film that stands out, dominating both film festivals and the box office while leaving an indelible mark on the general audience: Parasite (기생충), became the first International Feature Film and the first non-English language film overall to win The Academy Award for Best Picture, in addition to winning the Palme d’Or and many other accolades. Although it may not be my personal favorite of Bong’s films (my favorite being "Mother," and for many critics, "Memories of Murder" which also is understandable), it is undeniably successful, impactful, and worthy of discussion. Therefore, today’s review focuses on this 2019 addition to Bong Joon-ho’s filmography, who, along with directors like Park Chan-wook, Lee Chang-dong, Na Hong-jin, and Kim Ki-duk, has elevated South Korean cinema. The film stars some of South Korea’s well-known actors, including Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, and Park So-dam. This tragicomedy thriller delves deep into the story of a poor family infiltrating the life of a wealthy family, exploring social class differences and their impact on human relationships. 

The film begins with the Kim family, who live in one of the poor neighborhoods of Seoul. Kim Ki-taek (Song Kang-ho), his wife Chung-sook (Jang Hye-jin), their son Ki-woo (Choi Woo-shik), and their daughter Ki-jung (Park So-dam) reside in a basement apartment under dire conditions. They struggle to find spots in their home to catch a neighbor’s Wi-Fi signal and even leave their windows open during neighborhood fumigations to benefit from the free pest control, despite its known toxicity. The family scrapes by doing low-paying jobs. One day, Ki-woo's friend Min-hyuk suggests that he take over his tutoring job for the daughter of the wealthy Park family, Da-hye, setting off a chain of events that will change the Kim family’s lives forever (but not as they desire).

Ki-woo forges a university diploma and secures a job as Da-hye’s English tutor at the Park family’s house, even starting developing a romantic connection with her, at least from her perspective. The Park family leads a life of wealth and prestige, living in a large, modern home with in addition to Da-hye, father Park Dong-ik, mother Choi Yeon-gyo, young son Da-song, and their housekeeper Moon-gwang. Seeing an opportunity, Ki-woo decides to get his family members jobs at the Park residence. First, his sister Ki-jung is hired as an art therapist for Da-song under a fake identity and credentials. Next, the Kims frame the Park family’s driver, Yoon, leading to his dismissal, and Ki-taek, Ki-woo’s father, takes over as the new driver. Finally, they discover Moon-gwang’s severe allergy and exploit it to get her fired, replacing her with their mother, Chung-sook, as the new housekeeper. Everything seems to be going smoothly for the Kim family, but will it continue that way?

One day, while the Park family is away on vacation, the Kim family begins to indulge in the luxurious lifestyle of the Park residence. However, their enjoyment is interrupted when Moon-gwang returns and reveals that her husband, Oh Geun-sae, has been secretly living in the hidden basement for years to evade his creditors. This shocking discovery leads to a violent confrontation between the Kim family and Moon-gwang and her husband. Meanwhile, the Park family unexpectedly returns home. The Kim family narrowly avoids being caught by hiding or fleeing at the right moments, but they are left with the realization and despair that even if their plans succeed, the results may not be sustainable in the long run. 

Not long after these events, a birthday party is organized for Da-song, and the people who work for the Park family, including the Kim family, are invited. During the party, Geun-sae, whom Ki-woo intended to kill to solidify his status as the Park family’s successor through his relationship (!) with Da-hye (in fact, at the beginning of the story, his friend had suggested the tutoring job out of affection for her and a desire to make someone reliable keep an eye on her, but you can guess what happened later), escapes from the basement, causing a chaotic uproar. Many characters end up injured or dead, but most significantly, Ki-taek reaches his breaking point when Park Dong-ik displays another act of condescension towards his social class, leading him to kill Mr. Park. Ki-woo wakes up in the hospital after brain surgery and learns that both he and his mother have been convicted of fraud and put on probation. He discovers that his sister has died and his father has disappeared. Observing the Park family's former house, now owned by strangers, Ki-woo notices a Morse code message blinking from the basement. This message is from his father, who is hiding there and hoping Ki-woo will see it. Still living in the same basement apartment with his mother, Ki-woo writes a letter to his father, vowing to earn enough money to buy the house and free him. The film ends with Ki-woo’s hopeful yet extremely fantastical plan to reunite with his father, leaving the audience to ponder the possibility of this dream ever becoming a reality.

Although the film is rich with symbols, its narrative is not overly complex, allowing even an average viewer to feel intellectually engaged. Thus, this clarity is why I've provided a more detailed summary. Despite the occasional coincidences that serve the predictable flow of the story, there are key points worth highlighting. Income inequality and class conflict are central themes, but they are explored through a unique lens involving three distinct social classes: the elites, those just above point zero, and those far below it. This multi-layered approach culminates in the chaotic bloodbath of the film’s finale, which brilliantly underscores the complexity and near-impossibility of resolving these issues in reality. The film also adeptly navigates intra- and inter-class relationships and conflicts, maintaining a high tempo throughout its over two-hour runtime. This fast pace contributes to its extraordinary engagement, keeping the audience captivated and deeply involved in its cinematic universe.

One point of criticism about the film is the portrayal of its characters in extreme terms to highlight the conflicts between social classes. The wealthy are depicted as unbelievably foolish, arrogant, and incompetent, while the poor are shown as incredibly crude, destitute, and greedy. However, in terms of symbols and motifs, the film presents a nuanced message pattern that appeals to both the conscious and subconscious mind through simple yet thoughtful touches. One of the most obvious symbolic elements is the title of the film. The question of who the true parasites are—whether it’s the Kim family, a social class, the two families trying to maintain their presence in the house, or how the rich view the poor—is open to interpretation. The film progresses in a cyclical manner, with everyone fitting the term "parasite" at different points. Director Bong Joon-ho explains: "Because the story is about the poor family infiltrating and creeping into the rich house, it seems very obvious that Parasite refers to the poor family, and I think that's why the marketing team was a little hesitant. But if you look at it the other way, you can say that the rich family, they're also parasites in terms of labor. They can't even wash dishes, they can't drive themselves, so they leech off the poor family's labor. So both are parasites."